So what can we actually do with content-based video retrieval?

In this talk I will give a roller-coaster survey of the state of the art in automatic video analysis, indexing, summarisation, search and browsing as demonstrated in the annual TRECVid benchmarking evaluation campaign. I will concentrate on content-based techniques for video management which form a complement to the dominant paradigm of metadata or tag-based video management and I will use example techniques to illustrate these

Video-4-Video: using video for searching, classifying and summarising video

YouTube has meant that we are now becoming accustomed to searching for video clips, and finding them, for both work and leisure pursuits. But YouTube, like the Internet Archive, OpenVideo and almost everything other video library, doesn't use video to find video, it uses metadata, usually based on user generated content (UGC). But what if we don't know what we're looking for and the metadata doesn't help, or we have poor metadata or no UGC, can we use the video to find video ? Can we automatically derive semantic concepts directly from video which we can use for retrieval or summarisation ? Many dozens of research groups throughout the world work on the problems associated with content-based video search, content-based detection of semantic concepts, shot boundary detection, content-based summarisation and content-based event detection. In this presentation we give a summary of the achievements of almost a decade of research by the TRECVid community, including a report on performance of groups in different TRECVid tasks. We present the modus operandi of the annual TRECVid benchmarking, the problems associated with running an annual evaluation for nearly 100 research groups every year and an overview of the most successful approaches to each task

The effect of baroque music on the PassPoints graphical password

Graphical passwords have been demonstrated to be the possible alternatives to traditional alphanumeric passwords. However, they still tend to follow predictable patterns that are easier to attack. The crux of the problem is users’ memory limitations. Users are the weakest link in password authentication mechanism. It shows that baroque music has positive effects on human memorizing and learning. We introduce baroque music to the PassPoints graphical password scheme and conduct a laboratory study in this paper. Results shown that there is no statistic difference between the music group and the control group without music in short-term recall experiments, both had high recall success rates. But in long-term recall, the music group performed significantly better. We also found that the music group tended to set significantly more complicated passwords, which are usually more resistant to dictionary and other guess attacks. But compared with the control group, the music group took more time to log in both in short-term and long-term tests. Besides, it appears that background music does not work in terms of hotspots

The effect of baroque music on the PassPoints graphical password

Graphical passwords have been demonstrated to be the possible alternatives to traditional alphanumeric passwords. However, they still tend to follow predictable patterns that are easier to attack. The crux of the problem is users’ memory limitations. Users are the weakest link in password authentication mechanism. It shows that baroque music has positive effects on human memorizing and learning. We introduce baroque music to the PassPoints graphical password scheme and conduct a laboratory study in this paper. Results shown that there is no statistic difference between the music group and the control group without music in short-term recall experiments, both had high recall success rates. But in long-term recall, the music group performed significantly better. We also found that the music group tended to set significantly more complicated passwords, which are usually more resistant to dictionary and other guess attacks. But compared with the control group, the music group took more time to log in both in short-term and long-term tests. Besides, it appears that background music does not work in terms of hotspots

Non-parametric Kernel Ranking Approach for Social Image Retrieval

National Research Foundation (NRF) Singapore; Ministry of Education, Singapore under its Academic Research Funding Tier

STV-based Video Feature Processing for Action Recognition

In comparison to still image-based processes, video features can provide rich and intuitive information about dynamic events occurred over a period of time, such as human actions, crowd behaviours, and other subject pattern changes. Although substantial progresses have been made in the last decade on image processing and seen its successful applications in face matching and object recognition, video-based event detection still remains one of the most difficult challenges in computer vision research due to its complex continuous or discrete input signals, arbitrary dynamic feature definitions, and the often ambiguous analytical methods. In this paper, a Spatio-Temporal Volume (STV) and region intersection (RI) based 3D shape-matching method has been proposed to facilitate the definition and recognition of human actions recorded in videos. The distinctive characteristics and the performance gain of the devised approach stemmed from a coefficient factor-boosted 3D region intersection and matching mechanism developed in this research. This paper also reported the investigation into techniques for efficient STV data filtering to reduce the amount of voxels (volumetric-pixels) that need to be processed in each operational cycle in the implemented system. The encouraging features and improvements on the operational performance registered in the experiments have been discussed at the end

Interactive video retrieval using implicit user feedback.

PhDIn the recent years, the rapid development of digital technologies and the low cost of recording media have led to a great increase in the availability of multimedia content worldwide. This availability places the demand for the development of advanced search engines. Traditionally, manual annotation of video was one of the usual practices to support retrieval. However, the vast amounts of multimedia content make such practices very expensive in terms of human effort. At the same time, the availability of low cost wearable sensors delivers a plethora of user-machine interaction data. Therefore, there is an important challenge of exploiting implicit user feedback (such as user navigation patterns and eye movements) during interactive multimedia retrieval sessions with a view to improving video search engines. In this thesis, we focus on automatically annotating video content by exploiting aggregated implicit feedback of past users expressed as click-through data and gaze movements. Towards this goal, we have conducted interactive video retrieval experiments, in order to collect click-through and eye movement data in not strictly controlled environments. First, we generate semantic relations between the multimedia items by proposing a graph representation of aggregated past interaction data and exploit them to generate recommendations, as well as to improve content-based search. Then, we investigate the role of user gaze movements in interactive video retrieval and propose a methodology for inferring user interest by employing support vector machines and gaze movement-based features. Finally, we propose an automatic video annotation framework, which combines query clustering into topics by constructing gaze movement-driven random forests and temporally enhanced dominant sets, as well as video shot classification for predicting the relevance of viewed items with respect to a topic. The results show that exploiting heterogeneous implicit feedback from past users is of added value for future users of interactive video retrieval systems

Interim research assessment 2003-2005 - Computer Science

This report primarily serves as a source of information for the 2007 Interim Research Assessment Committee for Computer Science at the three technical universities in the Netherlands. The report also provides information for others interested in our research activities

Digital life stories: Semi-automatic (auto)biographies within lifelog collections

Our life stories enable us to reflect upon and share our personal histories. Through emerging digital technologies the possibility of collecting life experiences digitally is increasingly feasible; consequently so is the potential to create a digital counterpart to our personal narratives. In this work, lifelogging tools are used to collect digital artifacts continuously and passively throughout our day. These include images, documents, emails and webpages accessed; texts messages and mobile activity. This range of data when brought together is known as a lifelog. Given the complexity, volume and multimodal nature of such collections, it is clear that there are significant challenges to be addressed in order to achieve coherent and meaningful digital narratives of our events from our life histories. This work investigates the construction of personal digital narratives from lifelog collections. It examines the underlying questions, issues and challenges relating to construction of personal digital narratives from lifelogs. Fundamentally, it addresses how to organize and transform data sampled from an individual’s day-to-day activities into a coherent narrative account. This enquiry is enabled by three 20-month long-term lifelogs collected by participants and produces a narrative system which enables the semi-automatic construction of digital stories from lifelog content. Inspired by probative studies conducted into current practices of curation, from which a set of fundamental requirements are established, this solution employs a 2-dimensional spatial framework for storytelling. It delivers integrated support for the structuring of lifelog content and its distillation into storyform through information retrieval approaches. We describe and contribute flexible algorithmic approaches to achieve both. Finally, this research inquiry yields qualitative and quantitative insights into such digital narratives and their generation, composition and construction. The opportunities for such personal narrative accounts to enable recollection, reminiscence and reflection with the collection owners are established and its benefit in sharing past personal experience experiences is outlined. Finally, in a novel investigation with motivated third parties we demonstrate the opportunities such narrative accounts may have beyond the scope of the collection owner in: personal, societal and cultural explorations, artistic endeavours and as a generational heirloom